1932 Clyde McPhatter*
1937 Little Willie John*
1941 Jim Dickinson*
1954 Charley Jordan+
1956 John H. Schiessler (Beige Fish)*
1961 Ivan Audes*
1966 "Specks" Charlie McFadden+
2016 Mose Allison+
1937 Little Willie John*
1941 Jim Dickinson*
1954 Charley Jordan+
1956 John H. Schiessler (Beige Fish)*
1961 Ivan Audes*
1966 "Specks" Charlie McFadden+
2016 Mose Allison+
Happy Birthday
Clyde McPhatter *15.11.1932
Clyde McPhatter (* 15. November 1932 in Durham (North Carolina); † 13. Juni 1972 in Teaneck, New Jersey) war ein bekannter Rhythm-and-Blues-Tenor der 1950er und 60er Jahre.
1930er/40er Jahre
McPhatter kam als viertes von sechs Kindern zur Welt und wuchs in Durham auf. Schon als kleiner Junge wurde er Sopran-Sänger im Chor der Mount Calvary Baptist Church, in der sein Vater George McPhatter predigte und seine Mutter Beulah McPhatter die Orgel spielte. 1945 zogen die McPhatters nach New Jersey, wo Clyde McPhatter noch im selben Jahr seine erste Gospel-Band gründete. Nur wenig später zog die Familie ein weiteres Mal um, diesmal nach New York City. McPhatter schloss sich dort den Mount Lebanon Singers an, einer Gospel-Band, die an der Ostküste Amerikas sehr populär war. Er blieb dort über die zweite Hälfte der 1940er Jahre.
Billy Ward & the Dominoes
Ende 1950 schloss sich McPhatter dann Billy Ward & the Dominoes an, mit denen er noch im gleichen Jahr Sixty Minute Man aufnahm. Der Song wurde der größte R&B-Hit des Jahres 1951 und schaffte es sogar in den Pop-Charts in die Top 30 (# 23). McPhatter blieb noch einige Zeit bei den Dominoes, mit denen er noch einige Hits aufnahm, fühlte sich über die Zeit jedoch von Ward zu sehr in den Schatten gestellt und verließ die Band Anfang 1953.
The Drifters
Später in diesem Jahr gründete McPhatter zusammen mit seinem Manager George Treadwell dann The Drifters, die schon bald von Ahmet Ertegün einen Vertrag mit Atlantic Records angeboten bekamen. Die Karriere der Gruppe begann 1953 mit Money Honey, dem größten R&B-Hit des Jahres 1953. Es folgte eine Reihe weiterer Hits, doch noch im gleichen Jahr musste McPhatter zum Militär. Da er jedoch innerhalb der USA postiert wurde, konnte er die Aufnahmearbeiten mit den Drifters fortsetzen. Trotzdem verließ er die Band 1955, um eine Solo-Karriere zu starten.
Atlantic Records
Diese begann in Form von Love Has Joined Us Together, einem Duett mit Ruth Brown, das es bis auf Platz 8 der R&B-Charts schaffte. Anfang 1956 folgte die Solo-Single Seven Days, die sogar einen Platz 2 machte. Im Frühjahr des Jahres kam Treasure of Love dann an die Spitze der R&B-Charts und bis auf Platz 16 der Pop-Charts, ein eher seltener Erfolg für einen R&B-Song in dieser Zeit. 1957 konnte er seine Erfolge mit Just to Hold My Hand und Long Lonely Nights fortsetzen. 1958 kam es dann sogar zur Veröffentlichung der beiden LPs Clyde McPhatter & the Drifters und Love Ballads, sowie seines größten Hits auf Atlantic, A Lover's Question, der die R&B-Charts toppte und einen Platz 6 in den Pop-Charts erreichte. 1959 folgten drei Mini-Hits und die LP Clyde McPhatter. Sein letzter Hit für Atlantic Records wurde Lovey Dovey, dann lief sein Vertrag ab und er verließ das Label.
MGM und Mercury
McPhatter unterschrieb dann bei MGM Records, wo er insgesamt nur ein Album und vier Singles (die erfolgreichste von ihnen Let’s Try Again) veröffentlichte. 1960 wechselte er zu Mercury Records, wo die Singles Ta Ta und I Never Knew einigen Erfolg ernteten. Lover Please schaffte es 1962 sogar bis in die Top 10 der Pop-Charts. Inzwischen verfiel McPhatter jedoch mehr und mehr dem Alkohol, die Erfolge ließen merklich nach. Seinen Abschluss bei Mercury bildete 1964 das Konzertalbum Live at the Apollo. In den Folgejahren veröffentlichte McPhatter auf einigen kleinen Labels noch ein paar Singles, die alle floppten.
England und Rückkehr in die USA
Inzwischen hatte Bill Pinkney, ein ehemaliges Mitglied von McPhatters Drifters, eine neue Band gegründet, die McPhatters Songmaterial durch Auftritte nun auch in England bekannt machte, was McPhatter schließlich bewog, ebenfalls dorthin zu ziehen. Dort sang er dann einige Zeit in verschiedenen Clubs, bis er sich Anfang der 1970er Jahre entschloss, in die USA zurückzukehren. Er unterschrieb dort bei Decca Records und veröffentlichte 1970 Welcome Home, das sich als totaler Flop herausstellte. Am 13. Juni 1972 starb der inzwischen schwer alkoholsüchtige McPhatter in New York City an einem Herzinfarkt. 1987 wurde er posthum in die Rock and Roll Hall of Fame aufgenommen.
Clyde Lensley McPhatter (November 15, 1932 – June 13, 1972) was an American R&B, soul and rock n' roll singer. He was immensely influential, perhaps the most widely imitated R&B singer of the 1950s and 1960s,[2] making him a key figure in the shaping of doo-wop and R&B. His high-pitched tenor voice was steeped in the gospel music he sang in much of his younger life. He is best known for his solo hit "A Lover's Question". McPhatter was lead tenor for The Mount Lebanon Singers, a gospel group he formed as a teenager,[3] and later, lead tenor for Billy Ward and His Dominoes. McPhatter was largely responsible for the success the Dominoes initially enjoyed. After his tenure with the Dominoes, McPhatter formed his own group, the Drifters, before going solo. Only 39 at the time of his death, he had struggled for years with alcoholism and depression and was, according to Jay Warner’s On This Day in Music History, "broke and despondent over a mismanaged career that made him a legend but hardly a success."[4][5] At the time of his passing, Clyde McPhatter left a legacy of over 22 years of recording history. He was the first artist in music history to become a double inductee into the Rock and Roll Hall of Fame, first as a member of the Drifters, and later as a solo artist, and as a result, all subsequent double and triple inductees into the Rock and Roll Hall of Fame are said to be members of "The Clyde McPhatter Club."[6][7]
Life and career
Early life
Clyde Lensley McPhatter was born in the tobacco town community of Hayti, in Durham, North Carolina, on November 15, 1932, and raised in a religious Baptist family; the son of Rev. George McPhatter and wife Beulah (though some accounts refer to her as Eva). Starting at the age of five, he sang in his father's church gospel choir along with his three brothers and three sisters. When he was ten, Clyde was the soprano-voiced soloist for the choir. In 1945, Rev. McPhatter moved his family to Teaneck, New Jersey, where Clyde attended Chelsior High School. He worked part-time as a grocery store clerk, and eventually was promoted to shift manager upon graduating high school.[3] The family then relocated to New York City, where Clyde formed the gospel group The Mount Lebanon Singers.[8]
Membership in Billy Ward & the Dominoes (1950-53)
In 1950, after winning the envied "Amateur Night" at Harlem's Apollo Theater, McPhatter returned to his job as store manager but later was recruited by Billy Ward & the Dominoes, and was present for the recording of "Sixty Minute Man" for Federal Records, a song regarded as the "first record of rock 'n roll," produced by Ralph Bass.
Billy Ward and his Dominoes was one of the top R&B vocal groups in the country, garnering more popularity than the Clovers, the Ravens and the Five Keys, largely due to Clyde's fervent, high-pitched tenor. He is regarded as the main singer to infuse a gospel-steeped singing style into mainstream R&B, though blues singer Roy Brown was actually the first to do so. Even though Roy Brown started the trend, McPhatter was more widely imitated, and was a much bigger influence in the shaping of Doo-Wop/R&B. In his book The Drifters, Bill Millar names Ben E. King, Smokey Robinson of the Miracles, Sammy Turner, and Marv Johnson among the vocalists who patterned themselves after McPhatter. "Most important," he concludes, "McPhatter took hold of the Ink Spots' simple major chord harmonies, drenched them in call-and-response patterns and sang as if he were back in church. In doing so, he created a revolutionary musical style from which---thankfully---popular music will never recover."[9] Oddly enough, McPhatter didn't think much of his own singing abilities. The countless imitators tell a different story, including Jimmy Jones, Bobby Hendricks and David Baughan, both interim Drifters, Nolan Strong of the Diablos, Bobby Day and Dee Clark. Patsy Cline shows McPhatter's influence (listen to his version of "Someday You'll Want Me to Want You", recorded in 1954 with the Drifters. Compare it to Cline's version, which seems to follow that example).[10] In the course of his career Elvis Presley recorded several of McPhatter's songs. Presley's version of "White Christmas" has strong similarities to McPhatter's.
After recording several more songs, including "Have Mercy Baby", "Do Something for Me," and "The Bells", McPhatter left the Dominoes on May 7, 1953. He was sometimes passed off as "Clyde Ward, Billy's little brother." Others assumed it was Billy Ward doing the lead singing. As a member of The Dominoes, Clyde didn't earn much money. Ward paid him $100 a week, minus deductions for food, taxes, motel bills, etc. During an interview in 1971 McPhatter told journalist Marcia Vance "whenever I'd get back on the block where everybody'd heard my records - half the time I couldn't afford a Coca-Cola."[11] Because of such occurrences, and because he was frequently at odds with Ward, McPhatter decided he would quit the Dominoes, intent on making a name for himself. McPhatter announced his intent to quit the group which Billy Ward agreed to if Clyde would stay on long enough to coach a replacement. Later, auditions for a replacement were held at Detroit's Fox Theater and a young Jackie Wilson would later take over as lead tenor for the Dominoes, influencing Wilson's singing style and stage presence. "I fell in love with the man's voice. I toured with the group and watched Clyde and listened..."—and apparently learned.[3] Privately, McPhatter and Ward often argued, but publicly Clyde expressed his appreciation to Ward for giving him his start in entertainment. "I think Billy Ward is a very wonderful musician and entertainer. I appreciate all he did for me in giving me my start in show business."[11]
Founder of the Drifters (1953-1954)
Ahmet Ertegün, founder of Atlantic Records and Jerry Wexler, eagerly sought McPhatter after noticing he was not present for an appearance the Dominoes once made at Birdland, which was "an odd booking for the Dominoes", in Ertegün's words.[12] After locating him, McPhatter was then signed to Atlantic on the condition that he form his own group. McPhatter promptly assembled a group and called them the Drifters. They recorded a few tracks in June 1953, including a song called "Lucille," written by McPhatter himself. This group of Drifters did not have the sound Atlantic executives were looking for however, and Clyde was prompted to assemble another group of singers. The revised lineup recorded and released such hits as "Money Honey," "Such a Night," "Honey Love," "White Christmas" and "Whatcha Gonna Do," with the record label proudly displaying the group name "Clyde McPhatter & the Drifters." (The story of the Drifters is full of personnel changes. The first group of Drifters Clyde assembled were mostly members of the Mount Lebanon Singers.)
In late 1954, McPhatter was inducted into the Army and assigned to Special Services in the continental United States, which allowed him to continue recording. After his tour of duty was up, he left the Drifters and launched a solo career.
Solo career
McPhatter's first solo hit occurred just after being discharged - "Love Has Joined Us Together" (with Ruth Brown). He released several R&B recordings in the next few years, including "Rock and cry", "Seven Days" (later a bigger hit for Tom Jones), "Treasure of Love," "Just to Hold my Hand", and his biggest solo hit, "A Lover's Question," written by Brook Benton and Jimmy T. Williams, which peaked at No. 6 in 1958. In 1962, the song "Lover Please," written by country artist Billy Swan was released. His 1956 recording "Treasure of Love" saw his first solo No. 1 on the R&B charts and one week in the UK Singles Chart. It reached No. 16 on the U.S. Pop charts, sold over two million copies in the United States alone, and was awarded a gold disc by the RIAA.[13]
After leaving Atlantic Records, McPhatter then signed on with MGM Records, and released several more songs, including "I Told Myself a Lie" and "Think Me a Kiss" (1960) and his first single for Mercury Records "Ta Ta." His tenure on these labels proved to be less fruitful than his time with Atlantic. He moved to other record labels and recorded more singles, including "I Never Knew" and his final Top Ten hit "Lover Please," which made it to No. 7 in 1962. It was after "Lover Please" that McPhatter saw a downward turn in his career, as musical styles and tastes were constantly changing during the 1960s. These directional changes were the main reason McPhatter turned to alcohol abuse, as more sporadic recordings failed to chart.
In 1968, McPhatter moved to England, where he was still highly revered, utilizing UK band "ICE" as backup.
Death
McPhatter returned to America in 1970, making a few appearances in rock 'n roll revival tours, but remaining mostly a recluse. Hopes for a major comeback with a Decca album were crushed on June 13, 1972, when he died in his sleep at the age of 39 from complications of heart, liver, and kidney disease, brought on by alcohol abuse. That abuse was fueled by a failed career and resentment he harbored towards the fans he felt deserted him.[11] During his interview with journalist Marcia Vance, McPhatter told Vance "I have no fans."[14] He died at 1165 East 229th Street, Bronx, New York, where he had been living with Bertha M. Reid; they were traveling together as he tried to make a comeback.
McPhatter was a resident of Teaneck, New Jersey, at the time of his death.[15] He was buried at George Washington Memorial Park in Paramus, New Jersey.[16][17]
Ruth Brown acknowledged in her later years that McPhatter was the actual father of her son Ronald, born in 1954.[18] Ron now tours with his own group named after his father - Clyde McPhatter's Drifters.[19]
Legacy and honors
In 1987 was posthumously inducted into the Rock and Roll Hall of Fame.
The Rockabilly Hall of Fame recognized his pioneering efforts.
The Original Drifters were inducted in the Vocal Group Hall of Fame in 1998.
The United States Postal Service issued a stamp in his honor in 1993.
The song "Money Honey" (1953) was inducted in the Grammy Hall of Fame in 1999.
McPhatter was inducted into the North Carolina Music Hall of Fame in 2009.[20]
Clyde was also named by Digital Dream Door as the Greatest Ever Lead Singer of a Vocal Group.
Clyde McPhatter - It's a Lovers Question (HQ)
Jim Dickinson *15.11.1941
Er war einer der Architekten des Memphis-Sounds, der Mischung aus Rock, Pop, Gospel, Country und Rhyhtm & Blues. Als Produzent arbeitete er etwa mit Aretha Franklin, als Pianist spielte er auf Platten von Bob Dylan und den Rolling Stones. Am 15. August starb Jim Dickinson im Alter von 67 Jahren an einem Herzleiden.
Die Liste der Künstler, mit denen der Produzent und Musiker Jim Dickinson zusammen gearbeitet hat ist lang: Aretha Franklin produzierte er für Atlantic Records, stellte ihr mit seiner Band The Dixie Flyers auch die Musiker zur Verfügung. Auf "Wild Horses" der Stones saß er am Piano, ebenso wie beim monumentalen "Time Out Of Mind"-Album von Bob Dylan. Aber auch mit Ry Cooder, Screamin Jay Hawkins, Willy DeVille, John Hiatt oder Mudhoney arbeitete er zusammen. Als Produzent, Sänger und Pianist prägte Dickinson wesentlich den so genannten Memphis Sound, der Elemente aus Rock'n'Roll, Blues, Country, Pop, Soul und Rhythm & Blues verschmolz. Jetzt starb der am 15. November 1941 geborene Musiker an einem Herzfehler, nachdem er kürzlich einen Bypass bekommen hatte.
Rund eine Woche vor seinem Tod fand noch ein Benefizkonzert in Memphis statt, um Geld für die hohen Krankenhauskosten von Dickinsons Behandlung einzuspielen. Neben Künstlern wie John Hiatt, Jimmy Davis und Shannon McNally traten dabei auch die North Mississippi Allstars, die Band seiner Söhne Luther und Cody Dickinson, auf.
James Luther "Jim" Dickinson (November 15, 1941 - August 15, 2009) was an American record producer, pianist, and singer who fronted, among others, the Memphis, Tennessee-based band Mud Boy and the Neutrons.
Dickinson was born in Little Rock, Arkansas and subsequently raised in Chicago and Memphis. He attended Baylor University as a drama major and eventually graduated from the University of Memphis, where he became acquainted with pioneering music journalist Stanley Booth. Following graduation, he played on recording sessions for Bill Justis and recorded at Chips Moman's American Studios. Dickinson recorded what has been described as the last great single released by Sun Records—"Cadillac Man" b/w "My Babe" by The Jesters (1966)—playing piano and singing lead on both sides despite not being an actual member of the group.
In the late 1960s, Dickinson joined with fellow Memphis musicians Charlie Freeman (guitar), Michael Utley (keyboards), Tommy McClure (bass) and Sammy Creason (drums); this group became known as the Dixie Flyers and backed a variety of performers, including Hank Ballard, James Carr, Albert Collins, and The Tempters. In 1970, the group began to back Atlantic Records' venerable stable of soul acts at the behest of producer Jerry Wexler (who was introduced to the group by Booth) following the acrimonious dissolution of his relationship with the Muscle Shoals Rhythm Section. Based out of Criteria Studios in Miami, Florida, they recorded Aretha Franklin's 1970 hit "Spirit in the Dark"; over the next year, the Flyers also contributed to recordings by Carmen McRae, Delaney & Bonnie, Jerry Jeff Walker, Dee Dee Warwick, Ronnie Hawkins, Sam & Dave, Dion, Brook Benton, Lulu, Sam the Sham, and Esther Phillips. Unable to acclimate to Miami and the variegated production styles of Wexler, Tom Dowd, and Arif Mardin, Dickinson heeded the advice of erstwhile Muscle Shoals guitarist Duane Allman and left the group to pursue a solo career in 1971; the remaining Flyers backed Kris Kristofferson and Rita Coolidge for several years before ultimately disbanding in the mid 1970s.
In 1972, Dickinson released his first solo album (Dixie Fried) on Atlantic, which featured songs by Bob Dylan, Furry Lewis, and a title song by Carl Perkins.[1]
In the 1970s, he became known as a producer, recording Big Star's Third in 1974, as well as serving as co-producer with Alex Chilton on the 1979 Chilton album Like Flies on Sherbert. He produced an eclectic range of performers, including Willy DeVille, Green on Red, Mojo Nixon, The Replacements, Tav Falco's Panther Burns and Screamin' Jay Hawkins; and in 1977 an aural documentary of Memphis' Beale Street, Beale Street Saturday Night, which featured performances by Sid Selvidge, Furry Lewis and Dickinson's band Mud Boy and the Neutrons. As a session musician in his own right, he played piano on The Rolling Stones' "Wild Horses" at Muscle Shoals Sound Studio in December 1969; contributed to the Flamin' Groovies' album Teenage Head in 1971; worked with Ry Cooder on nearly a dozen records beginning in 1972; recorded a one-off single ("Red Headed Woman") with The Cramps in 1984; and played electric piano & pump organ on Bob Dylan's 1997 comeback album Time Out of Mind. In 1998, he produced Mudhoney's Tomorrow Hit Today.[1]
His sons Luther and Cody, who played on his 2002 solo effort Free Beer Tomorrow, and the 2006 Jungle Jim and the Voodoo Tiger, have achieved success on their own as the North Mississippi Allstars.
Dickinson also made a recording with Pete (Sonic Boom) Kember of Spacemen 3 fame. "Indian Giver" was released in 2008 by Birdman Records under the name of Spectrum Meets Captain Memphis, with Captain Memphis, obviously, referring to Dickinson.
In 2003, Dickinson also briefly featured in The Road to Memphis part of Martin Scorsese's The Blues
Snake Eyes
In 2007 Dickinson played with the Memphis-based rock band Snake Eyes. The band, formed by Memphis musician Greg Roberson (former Reigning Sound drummer), featured Jeremy Scott (also from the Reigning Sound), Adam Woodard, and John Paul Keith. While the band disbanded in October 2008, Dickinson and Roberson went on to form another Memphis group, Ten High & the Trashed Romeos. This band included Jake and Toby Vest (of Memphis band The Bulletproof Vests) and Adam Hill. Ten High & the trashed Romeos recorded two albums, the first including all original compositions written by Dickinson and the band. The second album consisted entirely of covers of 1960's Memphis garage rock songs.
Death
Dickinson died August 15, 2009 at Methodist Extended Care Hospital in Memphis following triple-bypass heart surgery.
Little Willie John *15.11.1937
Little Willie John (eigentlich William Edgar John; * 15. November 1937 in Cullendale, Arkansas; † 26. Mai 1968 in Walla Walla, Washington), war ein Rhythm & Blues-Sänger, der vor allem in den 1950er Jahren populär war und das Original vom vielgecoverten Klassiker Fever herausbrachte.
Werdegang
Little Willie John ging mit dem Paul Williams Orchestra ab 1954 auf Tournee, hat jedoch bei Plattenaufnahmen nicht mitgewirkt[1]. Im Juni 1955 wurde er durch den Produzenten Henry Glover für King Records entdeckt, erhielt dort sofort einen Plattenvertrag und war bereits am 27. Juni 1955 im Tonstudio. Mit der hastig zusammengerufenen Studioband der Plattenfirma, die aus "Champion" Jack Dupree, Calvin Shields, Ivan Rolle, Mickey Baker und Willis Jackson bestand, begannen ab 20.00 Uhr die Studioaufnahmen zur Titus Turner-Komposition All around the World / Don't Leave Me Dear. Die Single mit dem erst 18-jährigen Little Willie John erklomm die # 5 der R& B-Charts. Wie sich herausstellte, war es kein One-Hit-Wonder, denn seine zweite Single mit dem oft gecoverten, mit seinem Bruder Mertis John gemeinsam komponierten Klassiker Need Your Love So Bad (wiederum mit dem berühmten Sessiongitarristen Mikey Baker) schaffte ebenfalls den fünften Platz. Selbst die B-Seite Home At last wurde eigenständig auf #6 notiert.
Fever
Am 1. März 1956 war dann eine für Little Willie John und sein Label King Records denkwürdige Aufnahmesession angesetzt. Mit Fever entstand ein 12-taktiger Blues in Moll, instrumentiert mit den Tenorsaxophonen von Ray Felder und Rufus "Nose" Gore sowie der jazzigen Gitarre von Bill Jennings und Fingerschnippen, das nur marginal die bluesige Stimmung auflockerte[2]. Die Aufnahme brauchte fast 6 Stunden bis zur Perfektion. Der Komponist Otis Blackwell bemerkte hierzu, dass Little Willie John das Stück zunächst nicht aufnehmen wollte, da ihm das Fingerschnippen nicht gefiel. Der Song besaß jedoch ein solides, gospelähnlich wirkendes Arrangement[3], das nach seiner Veröffentlichung im April 1956 mit der einzigen # 1 R&B für den Interpreten Little Willie John belohnt wurde und als Crossover noch die #24 Pop erreichte. Später schaffte das Original auch Millionsellerstatus[4]. Fever avancierte nach der jazzigen Version von Peggy Lee zum meistgecoverten R&B-Song aller Zeiten.
Weitere Singles und Abstieg
Es folgten 40 weitere Singles bis 1964 für King Records, von denen 13 in die R&B-Charts kamen. Fast alle wurden produziert von Henry Glover. Zunehmender Alkoholismus des Sängers und abnehmende Plattenumsätze veranlassten das Plattenlabel, Little Willie John im September 1963 zu feuern. Ungeachtet dessen wurden noch Singles von ihm aus den Archiven veröffentlicht.
Kurz darauf berichtete die Presse im August 1964 über Little Willie Johns Inhaftierung, weil er einen Mann im Black & Tan Club in Seattle mit einer zerbrochenen Flasche angegriffen hatte.[5] Kaum freigelassen, attackierte er am 17. Oktober 1964 betrunken einen Mann mit einem Messer. Als das Verfahren im Januar 1965 begann, wurde der Strafvorwurf des Mordes auf Totschlag reduziert. Von der Jury für schuldig gesprochen, wurde er am 6. Juli 1966 nach Ablauf der Berufung ins berüchtigte Walla Walla-Staatsgefängnis von Washington State eingeliefert, wo er eine 20-jährige Haftstrafe antreten musste. Dort verstarb er bereits am 26. Mai 1968 an einem Herzanfall, ausgelöst durch eine Lungenentzündung.
Seine Schwester Mable John hatte im Juli 1966 einen kleinen Hit mit Your Good Thing (Is About To End) (# 6 R&B/# 95 Pop). Am 19. Dezember 1968 veröffentlicht Label-Kollege James Brown das Erinnerungsalbum Thinking About Little Willie John and a Few Nice Things.
Statistik
Little Willie John hat dem BMI zufolge 12 Songs komponiert[6], von denen Need Your Love So Bad am besten in den R&B-Charts platziert war. Dieser Song wurde nach Fever mit 16 Versionen am meisten gecovert, wobei die Version von der britischen R&B-orientierten Fleetwood Mac am authentischsten ist und posthum erschien (Juli 1968). Zwar nahmen die Beatles am 14. August 1964 sein “Leave My Kitten Alone” in London auf, doch die geplante Veröffentlichung auf der LP Beatles For Sale unterblieb. Erst auf Anthology 1 wurde im Jahre 1995 die Veröffentlichung nachgeholt.
Am 17. Januar 1996 wurde Little Willie John in die Rock and Roll Hall of Fame aufgenommen.
William Edward John (November 15, 1937 - May 26, 1968),[1] better known by his stage name Little Willie John (sometimes abbreviated LWJ), was an American Rock and Roll, and R&B singer who performed in the 1950s and early 1960s. He is best known for his popular music chart successes with songs such as, "All Around the World" (1955), "Need Your Love So Bad" (1956) and "Fever" the same year, the latter covered in 1958 by Peggy Lee.[2] An important figure in early R&B music, Little Willie John was a 1996 Inductee into the Rock and Roll Hall of Fame.
Biography
He was born in Cullendale, Arkansas, one of ten children; many sources erroneously give his middle name as Edgar.[3] His family moved to Detroit, Michigan when he was four, so that his father could pursue factory work. In the late 1940s, the eldest children, including Willie, formed a gospel singing group, and Willie also performed in talent shows, which brought him to the notice of Johnny Otis and, later, musician and producer Henry Glover. After seeing him sing with the Paul "Hucklebuck" Williams orchestra, Glover signed him to a recording contract with King Records in 1955. He was nicknamed "Little Willie" John for his short stature.[4]
His first recording, a version of Titus Turner's "All Around the World", was a hit, reaching # 5 on the Billboard R&B chart. He followed up with a string of R&B hits, including the original version of "Need Your Love So Bad", written by his elder brother Mertis John Jr. One of his biggest hits, "Fever" (1956) (Pop #24), was more famously covered by Peggy Lee in 1958. However, John's version alone sold over one million copies, and was awarded a gold disc.[5] Another song, "Talk to Me, Talk to Me" recorded in 1958, reached #5 in the R&B chart and #20 in the Pop chart, and also sold over one million.[6][7] A few years later it was a hit once again by Sunny & the Sunglows. He also recorded "I'm Shakin'" by Rudy Toombs,[8] "Suffering With The Blues", and "Sleep" (1960) (Pop #13).[6] In all, John made the Billboard Hot 100 a total of fourteen times. A cover version of "Need Your Love So Bad" by Fleetwood Mac was also a hit in Europe. Another of his songs to be covered was "Leave My Kitten Alone", (1959). The Beatles recorded a version in 1964, intended for their Beatles for Sale album, but it went unreleased until 1995.
Willie John was known for his short temper and propensity to abuse alcohol, and was dropped by his record company in 1963.[4] In 1966, he was convicted of manslaughter and sent to Washington State Penitentiary for a fatal knifing incident following a show in Seattle. He appealed his conviction and was released while the case was reconsidered, during which time he recorded what was intended to be his comeback album, but owing to contractual wrangling and the decline of his appeal, it was not released until 2008 (as Nineteen Sixty Six).[9] Little Willie John died in 1968 at Washington State Penitentiary in Walla Walla, Washington. Despite counter claims (Rolling Stone had reported that the death occurred after John checked into the prison hospital with pneumonia[10]), the official cause of death was listed in his death certificate as a heart attack.[3]
His interment was in Warren, Michigan's Detroit Memorial Park East.
Little Willie John was posthumously inducted into the Rock and Roll Hall of Fame in 1996.
He was the brother of singer Mable John, who recorded for Motown and Stax, as well as being a member of Ray Charles' Raeletts. His son Keith John is a backing vocalist for Stevie Wonder.[8]
James Brown, who early in his career had opened shows for John, recorded a tribute album, Thinking about Little Willie John... and a Few Nice Things.
Robbie Robertson, former lead guitarist for The Band, referenced John in a song on his 1987 self-titled album titled "Somewhere Down the Crazy River." He was also referenced in Tom Russell's "Blue Wing." In 1991, the Swedish Artist Peter Le Marc recorded a song called "Little Willie John".
A biography, Fever: Little Willie John; A Fast Life, Mysterious Death and the Birth of Soul, written by Susan Whitall with Kevin John (another son of Little Willie John) was released in 2011 by Titan Books.
Little Willie John - Home At Last
John H. Schiessler (Beige Fish) *15.11.1956
JOHN H. SCHIESSLER began playing acoustic and slide guitar at age 12 and worked his way through blues, folk and rock music, influenced by Fred McDowell, Ry Cooder and Stephen Stills.
PRODUCER - ARRANGER- VOCALIST-INSTRUMENTALIST for BEIGE FISH AND VANILLA MOON,
PRODUCER - ARRANGER- VOCALIST-INSTRUMENTALIST for BEIGE FISH AND VANILLA MOON,
„BEIGE FISH“ is a "BLUES' N' ROOTS project - produced-directed and recorded at "DEJOHN STUDIO" / Munich by John H. Schiessler.
Mastered at SKY STUDIO for SKY PRODUCTIONS by BOBBY ALTVATER.
As a connoisseur for down home blues, acoustic and electric slide guitars, roots-flavoured „folk-rock“ tunes, outstanding cover-songs, sheer vocal strength and beautiful, rich harmonising, come visit for a listen. Turn up your speakers, and take it in. !!!
Mastered at SKY STUDIO for SKY PRODUCTIONS by BOBBY ALTVATER.
As a connoisseur for down home blues, acoustic and electric slide guitars, roots-flavoured „folk-rock“ tunes, outstanding cover-songs, sheer vocal strength and beautiful, rich harmonising, come visit for a listen. Turn up your speakers, and take it in. !!!
Ivan Audes *15.11.1961
Ivan Audes, der u.a. auch als Professor am Pilsener Konservatorium tätig ist, prägt als Pianist und Schlagzeuger das Klangbild von zahlreichen Jazz-Formationen in Tschechien. Gemeinsam mit Daniel Eberle und Krystof Marek widmet er sich schon seit 2001 der beglückenden Aufgabe, sowohl bei Standards, als auch bei Eigen-Kompositionen mit einem perfekten Balanceakt zwischen ausgeklügeltem Zusammenspiel und ideenreichen, virtuosen Solopassagen zu beglücken.
Von den drei tschechischen Musiker weiß man vorwiegend als Begleitband von Tony Lakatos oder im Umfeld von Milan Svoboda. Jenseits des Trios hörte man von Ivan Audes durch seine Arbeit mit beispielsweise James Moody oder Viktor Mendoza. Krysztof Marek ist u.a. Mitglied des J. Vejvoda Trio, Begründer der Bigband www.bend.cz und komponiert für Film und Funk.
Von den drei tschechischen Musiker weiß man vorwiegend als Begleitband von Tony Lakatos oder im Umfeld von Milan Svoboda. Jenseits des Trios hörte man von Ivan Audes durch seine Arbeit mit beispielsweise James Moody oder Viktor Mendoza. Krysztof Marek ist u.a. Mitglied des J. Vejvoda Trio, Begründer der Bigband www.bend.cz und komponiert für Film und Funk.
Am Mittwoch hat die „Five Rivers Blues Band“ aus Pilsen im Schlosshof von Neukirchen b. Hl. Blut aufgespielt. Mit „Enough of the Blues“ von Gary Moore, gefolgt von dem Ray-Charles-Song „I don’t need no Doctor“ begann die Band, die bereits zum dritten Mal im Schlosshof auftrat, ihr Konzert bei angenehmen Sommertemperaturen.
Die Formation, die sich aus bekannten Persönlichkeiten der Pilsener Musikszene zusammensetzt, wurde im Februar 2013 gegründet. Den Neukirchenern namentlich bekannt ist vor allem der Schlagzeuger Ivan Audes, der neben seiner Lehrtätigkeit am Konservatorium Pilsen auch in der Landkreismusikschule Cham Schlagzeug unterrichtet und in verschiedenen Ensembles wie dem Ivan Audes Jazztrio zu Gast im Schlosshof war.
Miloš Novotný an der Bassgitarre, Honza Šobr an der Gitarre und der volltreffliche Sänger Luboš Muchna (auch Mundharmonika) bildeten mit ihm eine kreative musikalische Einheit. Sie produzierten einen Sound, der die Zuhörer durchwegs begeisterte. Als Zugabe erklatschte sich das faszinierte Publikum „Standing on Shaky Ground“ von Delbert Mcclinton.
Die Formation, die sich aus bekannten Persönlichkeiten der Pilsener Musikszene zusammensetzt, wurde im Februar 2013 gegründet. Den Neukirchenern namentlich bekannt ist vor allem der Schlagzeuger Ivan Audes, der neben seiner Lehrtätigkeit am Konservatorium Pilsen auch in der Landkreismusikschule Cham Schlagzeug unterrichtet und in verschiedenen Ensembles wie dem Ivan Audes Jazztrio zu Gast im Schlosshof war.
Miloš Novotný an der Bassgitarre, Honza Šobr an der Gitarre und der volltreffliche Sänger Luboš Muchna (auch Mundharmonika) bildeten mit ihm eine kreative musikalische Einheit. Sie produzierten einen Sound, der die Zuhörer durchwegs begeisterte. Als Zugabe erklatschte sich das faszinierte Publikum „Standing on Shaky Ground“ von Delbert Mcclinton.
Five Rivers Blues Band
Živě: Five Rivers Blues Band
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Charley Jordan (* 1. Januar 1890 in Mabelville, Arkansas; † 15. November 1954 in St. Louis, Missouri) war ein US-amerikanischer Blues-Sänger, Gitarrist und Songschreiber. Er wird dem St. Louis Blues zugerechnet.
Jordan nahm zahlreiche Stücke für Vocalion und Decca Records auf. Von den 1920ern bis in die 1940er arbeitete er mit so bekannten Bluesmusikern zusammen wie Peetie Wheatstraw, Roosevelt Sykes, Casey Bill Weldon, Memphis Minnie und Big Joe Williams. 1928 wurde er bei einer Schießerei am Rückgrat verletzt.
Charley Jordan starb 1954 an einer Lungenentzündung.
Charley Jordan (January 1, 1890[1] – November 15, 1954)[2] was an American, St. Louis blues singer, songwriter and guitarist, as well as a talent scout, originally from Mabelvale, Arkansas.[2] He was known for a unique style that drew on his rural roots.
Life and career
Jordan recorded numerous singles for Vocalion and Decca between 1930 and 1937, and also performed with some well-regarded bluesmen from the 1920s to the 1940s. Jordan recorded with Peetie Wheatstraw, Roosevelt Sykes, Casey Bill Weldon and Memphis Minnie. He had most of his biggest hits, including "Keep It Clean", in the early to mid-1930s. Later in that decade and into the 1940s, he worked frequently with Big Joe Williams.[2]
Spinal injury
In 1928, Jordan was shot in the spine, this was due to his extramusical career as a bootlegger. This gave him a long term disability and caused him to walk with crutches thereafter (which can be seen in the few photographs of Jordan available).
Jordan died of pneumonia in 1954 in St. Louis, Missouri.
Life and career
Jordan recorded numerous singles for Vocalion and Decca between 1930 and 1937, and also performed with some well-regarded bluesmen from the 1920s to the 1940s. Jordan recorded with Peetie Wheatstraw, Roosevelt Sykes, Casey Bill Weldon and Memphis Minnie. He had most of his biggest hits, including "Keep It Clean", in the early to mid-1930s. Later in that decade and into the 1940s, he worked frequently with Big Joe Williams.[2]
Spinal injury
In 1928, Jordan was shot in the spine, this was due to his extramusical career as a bootlegger. This gave him a long term disability and caused him to walk with crutches thereafter (which can be seen in the few photographs of Jordan available).
Jordan died of pneumonia in 1954 in St. Louis, Missouri.
'Gasoline Blues' CHARLEY JORDAN, Blues Guitar Legend (1930)
"Specks" Charlie McFadden +15.11.1966
Charlie
„Specks“ McFadden (auch „Black Patch“ McFadden,[1] eigentlich Charles
Pertum, * 24. April 1895 in Quincy, Adams County (Illinois); † 15.
November 1966 in St. Louis[2]) war ein US-amerikanischer Sänger und
Songwriter des Country Blues.
Leben und Wirken
McFadden, der aus East St. Louis, Illinois stammte und um 1910 den Namen seines Stiefvaters Jack McFadden annahm, zog 1920 nach St. Louis und spielte zwischen 1929 und 1937 für verschiedene Label wie Bluebird, Brunswick, Decca, Okeh, Paramount, Sunrise und Victor Records über zwanzig Songs ein, begleitet u. a. von Roosevelt Sykes und Lonnie Johnson,[3] ferner von Eddie „Gin“ Miller (Piano).
Zu seinen bekanntesten Songs gehörte „Groceries on the Shelf (Piggly Wiggly)“ (Paramount 12928[4] und 13076[5] sowie 1937 als Decca 7317), ein Song, der auf die frühe Supermarktkette Piggly Wiggly anspielt. McFadden nahm ihn drei Mal auf; er wurde 1933 als „The Piggly Wiggly Blues“ auch von Lucille Bogan gecovert.[6] Piggly Wiggly (Selbstbedienung) wurde im afroamerikanischen Slang zu einer Metapher für sexuelle Verfügbarkeit bzw. für Prostitution.[7] Die ersten Zeilen des Lieds lauten:
My name is Piggly Wiggly: I've got groceries on my shelf
Getting mighty tired: making these nights all by myself
My mama told me: my papa told me too
Don't let these cadillac women: make no flat tire out of you.[8]
Weitere Songs McFaddens waren „People People“, „Weak-Eyed Blues“, „Lonesome Ghost Blues“, „Times Are So Tight“ und „Gambler's Blues“, eine Anspielung auf seine Spielleidenschaft, die ihn zwischen 1929 und 1935 mehrmals ins Gefängnis brachte.[9] Einige seiner Songs, wie „Broken Down Blues“, „Weak-Eyed Man“ und „Harvest Moon Blues“, nahm er unter seinem ursprünglichen Namen Charles „Speck“ Pertum auf.
Charlie "Specks" McFadden was not destined to become famous, but at the time he made his debut recordings in 1929, he was considered one of the top blues-oriented singers based in St. Louis. A good friend of Roosevelt Sykes, who plays piano on 12 of the 20 selections included on this CD, McFadden was a fine blues singer. He had a minor hit with "Groceries on the Shelf" which has three versions included on this disc. Apparently, McFadden was quite a character, being arrested 13 times during 1929-1935, including ten times for gambling, which gives credibility to his version of "Gambler's Blues." As with too many of the early blues performers, virtually nothing is known of McFadden's life, especially after his final record date in 1937. All of his recordings, except for four titles that have not been found, are on this CD and Charlie "Specks" McFadden consistently shows that he deserves to be remembered or at least have his performances enjoyed by blues collectors.
http://www.allmusic.com/album/complete-recorded-works-1929-1937-mw0000100574Leben und Wirken
McFadden, der aus East St. Louis, Illinois stammte und um 1910 den Namen seines Stiefvaters Jack McFadden annahm, zog 1920 nach St. Louis und spielte zwischen 1929 und 1937 für verschiedene Label wie Bluebird, Brunswick, Decca, Okeh, Paramount, Sunrise und Victor Records über zwanzig Songs ein, begleitet u. a. von Roosevelt Sykes und Lonnie Johnson,[3] ferner von Eddie „Gin“ Miller (Piano).
Zu seinen bekanntesten Songs gehörte „Groceries on the Shelf (Piggly Wiggly)“ (Paramount 12928[4] und 13076[5] sowie 1937 als Decca 7317), ein Song, der auf die frühe Supermarktkette Piggly Wiggly anspielt. McFadden nahm ihn drei Mal auf; er wurde 1933 als „The Piggly Wiggly Blues“ auch von Lucille Bogan gecovert.[6] Piggly Wiggly (Selbstbedienung) wurde im afroamerikanischen Slang zu einer Metapher für sexuelle Verfügbarkeit bzw. für Prostitution.[7] Die ersten Zeilen des Lieds lauten:
My name is Piggly Wiggly: I've got groceries on my shelf
Getting mighty tired: making these nights all by myself
My mama told me: my papa told me too
Don't let these cadillac women: make no flat tire out of you.[8]
Weitere Songs McFaddens waren „People People“, „Weak-Eyed Blues“, „Lonesome Ghost Blues“, „Times Are So Tight“ und „Gambler's Blues“, eine Anspielung auf seine Spielleidenschaft, die ihn zwischen 1929 und 1935 mehrmals ins Gefängnis brachte.[9] Einige seiner Songs, wie „Broken Down Blues“, „Weak-Eyed Man“ und „Harvest Moon Blues“, nahm er unter seinem ursprünglichen Namen Charles „Speck“ Pertum auf.
Charlie "Specks" McFadden was not destined to become famous, but at the time he made his debut recordings in 1929, he was considered one of the top blues-oriented singers based in St. Louis. A good friend of Roosevelt Sykes, who plays piano on 12 of the 20 selections included on this CD, McFadden was a fine blues singer. He had a minor hit with "Groceries on the Shelf" which has three versions included on this disc. Apparently, McFadden was quite a character, being arrested 13 times during 1929-1935, including ten times for gambling, which gives credibility to his version of "Gambler's Blues." As with too many of the early blues performers, virtually nothing is known of McFadden's life, especially after his final record date in 1937. All of his recordings, except for four titles that have not been found, are on this CD and Charlie "Specks" McFadden consistently shows that he deserves to be remembered or at least have his performances enjoyed by blues collectors.
Mose Allison +15.11.2016
John Mose Allison Jr. (* 11. November 1927 in Tippo, Tallahatchie County, Mississippi; † 15. November 2016 ebenda[1]) war ein US-amerikanischer Jazzpianist und Sänger.
Leben
Allison fing während seiner Schulzeit an Piano zu spielen und spielte Trompete, während er an der Highschool war. Allison ging auf die University of Mississippi und die Louisiana State University und machte dort seinen Abschluss in Anglistik. Nachdem er in der US Army gedient hatte, zog er nach New York City, wo seine Jazz-Karriere begann. Während der 1950er arbeitete er mit Stan Getz, Gerry Mulligan, Al Cohn und Zoot Sims. Dann konzentrierte er sich auf die Arbeit in seinem Trio und gastierte zuweilen auch in Europa.
Er ist der Vater der Countrysängerin Amy Allison.
Im Jahr 2006 wurde er in die Long Island Music Hall of Fame aufgenommen.
Wirkung
Seine Musik hat viele Blues- und Rock-Interpreten beeinflusst, darunter The Rolling Stones, John Mayall, J. J. Cale und The Who, die seinen Song Young Man Blues bei mehreren Tourneen spielten. Blue Cheer nahm eine Version des Songs Parchman Farm für ihr Debütalbum auf. The Yardbirds und The Misunderstood coverten seinen Song I’m Not Talking. Sein Song Look Here wurde von The Clash auf deren Album Sandinista! gecovert. Van Morrison veröffentlichte ein Album mit seinen Stücken unter dem Namen Tell Me Something: The Songs of Mose Allison. Elvis Costello nahm den Song Everybody’s Cryin’ Mercy für sein Album Kojak Variety auf. Joe Bonamassa spielte Young Man Blues auf dem Livealbum Beacon Theatre – Live from New York. Außerdem widmeten die Pixies ihm einen Song namens Allison. Die Band Vaya Con Dios coverte 1995 auf ihrem Album Roots & Wings Allisons berühmten Song Your Mind Is on Vacation.
Leben
Allison fing während seiner Schulzeit an Piano zu spielen und spielte Trompete, während er an der Highschool war. Allison ging auf die University of Mississippi und die Louisiana State University und machte dort seinen Abschluss in Anglistik. Nachdem er in der US Army gedient hatte, zog er nach New York City, wo seine Jazz-Karriere begann. Während der 1950er arbeitete er mit Stan Getz, Gerry Mulligan, Al Cohn und Zoot Sims. Dann konzentrierte er sich auf die Arbeit in seinem Trio und gastierte zuweilen auch in Europa.
Er ist der Vater der Countrysängerin Amy Allison.
Im Jahr 2006 wurde er in die Long Island Music Hall of Fame aufgenommen.
Wirkung
Seine Musik hat viele Blues- und Rock-Interpreten beeinflusst, darunter The Rolling Stones, John Mayall, J. J. Cale und The Who, die seinen Song Young Man Blues bei mehreren Tourneen spielten. Blue Cheer nahm eine Version des Songs Parchman Farm für ihr Debütalbum auf. The Yardbirds und The Misunderstood coverten seinen Song I’m Not Talking. Sein Song Look Here wurde von The Clash auf deren Album Sandinista! gecovert. Van Morrison veröffentlichte ein Album mit seinen Stücken unter dem Namen Tell Me Something: The Songs of Mose Allison. Elvis Costello nahm den Song Everybody’s Cryin’ Mercy für sein Album Kojak Variety auf. Joe Bonamassa spielte Young Man Blues auf dem Livealbum Beacon Theatre – Live from New York. Außerdem widmeten die Pixies ihm einen Song namens Allison. Die Band Vaya Con Dios coverte 1995 auf ihrem Album Roots & Wings Allisons berühmten Song Your Mind Is on Vacation.
Parchman
Farm ist ein Bluestitel des US-amerikanischen Sängers und Pianisten
Mose Allison, der auf seinem Album Local Color (veröffentlicht 1957)
erstmals zu finden ist.
Der Titel bezieht sich auf das 1901 errichtete Mississippi State Penitentiary, die älteste und größte Haftanstalt des US-Bundesstaates Mississippi, das sich als einziges Hochsicherheitsgefängnis Mississippis nahe der im Sunflower County gelegenen Ortschaft Parchman befindet und in dem verschiedene bekannte Bluesmusiker inhaftiert waren, darunter Bukka White (der den Parchman Farm Blues schrieb) sowie Son House.
Das Lied wurde von folgenden Interpreten eingespielt (Veröffentlichungsjahr, Album):[1]
Duffy Power mit The Paramounts (1964)
Larry Bright (1966)
John Mayall (1966, Blues Breakers mit Eric Clapton)
Blue Cheer (1968, Vincebus Eruptum)
Bobbie Gentry (1968, The Delta Sweete')
Johnny Winter (1970, About Blues)
Cactus (1970, Cactus; 1996, Cactology; 2004, Fully Unleashed: The Live Gigs)
Blues Image (1970, Open)
Hot Tuna (1990, Pair a Dice Found; 1997, Live in Japan; 2004, Live At Sweetwater Two)
The Ford Blues Band (1991, The Ford Blues Band)
Brendan Croker & The Serious Offenders (1993, Time Off)
Poison 13 (1994, Wine Is Red, Poison Is Blue)
Sam Mitchell (2000, Resonating)
Rick Derringer (2000, Jackhammer Blues)
Michael Chapman (2000, Growing Pains)
Als Parchment Farm (vermutlich einfach falsch geschrieben) wurde das Lied von Blue Cheer (1968, Vincebus Eruptum) und On Trial (2003, Head) aufgenommen.
Der Titel bezieht sich auf das 1901 errichtete Mississippi State Penitentiary, die älteste und größte Haftanstalt des US-Bundesstaates Mississippi, das sich als einziges Hochsicherheitsgefängnis Mississippis nahe der im Sunflower County gelegenen Ortschaft Parchman befindet und in dem verschiedene bekannte Bluesmusiker inhaftiert waren, darunter Bukka White (der den Parchman Farm Blues schrieb) sowie Son House.
Das Lied wurde von folgenden Interpreten eingespielt (Veröffentlichungsjahr, Album):[1]
Duffy Power mit The Paramounts (1964)
Larry Bright (1966)
John Mayall (1966, Blues Breakers mit Eric Clapton)
Blue Cheer (1968, Vincebus Eruptum)
Bobbie Gentry (1968, The Delta Sweete')
Johnny Winter (1970, About Blues)
Cactus (1970, Cactus; 1996, Cactology; 2004, Fully Unleashed: The Live Gigs)
Blues Image (1970, Open)
Hot Tuna (1990, Pair a Dice Found; 1997, Live in Japan; 2004, Live At Sweetwater Two)
The Ford Blues Band (1991, The Ford Blues Band)
Brendan Croker & The Serious Offenders (1993, Time Off)
Poison 13 (1994, Wine Is Red, Poison Is Blue)
Sam Mitchell (2000, Resonating)
Rick Derringer (2000, Jackhammer Blues)
Michael Chapman (2000, Growing Pains)
Als Parchment Farm (vermutlich einfach falsch geschrieben) wurde das Lied von Blue Cheer (1968, Vincebus Eruptum) und On Trial (2003, Head) aufgenommen.
Mose John Allison, Jr. (November 11, 1927 – November 15, 2016) was an American jazz blues pianist, singer and songwriter.[1]
Early life
Allison was born outside Tippo, Mississippi, on his grandfather's farm, known as the Island, "because Tippo Bayou encircles it."[2] He took piano lessons from age five,[3] picked cotton, played piano in grammar school and trumpet in high school,[4] and wrote his first song at age thirteen.[5][6]
Allison went to college at the University of Mississippi for a while, then enlisted in the U.S. Army for two years.[7] Shortly after mustering out, he enrolled at Louisiana State University, from which he graduated in 1952 with a Bachelor of Arts in English with a minor in philosophy.[8]
Career
In 1956 Allison moved to New York City and launched his jazz career, performing with artists such as Stan Getz, Gerry Mulligan, Al Cohn, Zoot Sims, and Phil Woods.[4] His debut album, Back Country Suite, was issued by Prestige in 1957. He formed his own trio in 1958, with Addison Farmer on bass and Nick Stabulas on drums.
It was not until 1963 that his record label allowed him to release an album entirely of vocals. Entitled Mose Allison Sings, it was a compilation of songs from his previous Prestige albums that paid tribute to artists of the Mojo Triangle: Sonny Boy Williamson ("Eyesight to the Blind"), Jimmy Rogers ("That's All Right") and Willie Dixon ("The Seventh Son"). However, an original composition on the album brought him the most attention – "Parchman Farm". For more than two decades, "Parchman Farm" was his most requested song. He dropped it from his playlist in the 1980s because some critics felt it was politically incorrect. Allison explained in an interview, "I don't do the cotton sack songs much anymore. You go to the Mississippi Delta and there are no cotton sacks. It's all machines and chemicals."[9]
Prestige tried to market Allison as a pop star, but Columbia and later Atlantic tried to market him as a blues artist. Because he sang blues, Jet magazine thought that he was black and wanted to interview him.[10]
Allison was inducted into the Long Island Music Hall of Fame in 2006.
His album The Way of the World, released in March 2010, was his first after a 12-year absence from the recording studio.[11]
In 2012, Allison was honored with a marker on the Mississippi Blues Trail in his hometown of Tippo.[12] On January 14, 2013, Allison was honored as a Jazz Master by the National Endowment for the Arts, the nation's highest honor in jazz, at a ceremony at Lincoln Center in New York.[13]
Allison has written some 150 songs.[3] His performances have been described as "delivered in a casual conversational way with a melodic southern accented tone that has a pitch and range ideally suited to his idiosyncratic phrasing, laconic approach and ironic sense of humour".[14]
Influence
Allison's music has influenced many blues and rock artists, including Jimi Hendrix, the Rolling Stones, Tom Waits, the Yardbirds, John Mayall, J. J. Cale, the Who (who made "Young Man Blues" a staple of their live performances), and Georgie Fame (who described him, at a concert at the Rose Theatre in London on 24 May 2013, as "more important than Bob Dylan"). Blue Cheer recorded a version of his song "Parchman Farm" on their debut album, as did the band Cactus, featuring Carmine Appice and Tim Bogert, in the early 1970s. The Yardbirds and the Misunderstood both recorded versions of his song "I'm Not Talking".
His song "Look Here" was covered by the Clash on their album Sandinista! Leon Russell covered Allison's song "Smashed!" on his album Stop All That Jazz. Allison performed with Van Morrison, Georgie Fame, and Ben Sidran on the album Tell Me Something: The Songs of Mose Allison. Elvis Costello recorded "Everybody's Cryin' Mercy" on his album Kojak Variety and "Your Mind Is on Vacation" on King of America (bonus tracks). Dani Klein, of the Belgian music act Vaya Con Dios, recorded "Mind on Vacation" on the album Roots and Wings.
Frank Black of the Pixies has said that the song "Allison" from the album Bossanova is about Mose Allison.[15]
The film The Whole Nine Yards begins with Allison's song "I Don't Worry About a Thing" during the opening credits. Americana singer-songwriter Greg Brown wrote and performed the song "Mose Allison Played Here" on his 1997 album, Slant 6 Mind.
The Dutch musician Herman Brood recorded several of Allison's songs including "Going to the City", "Smashed!", "Back on the Corner", and "Swinging Machine". Brood called his band the Wild Romance after a line in Allison's "Lost Mind", and in his live performance used a pastiche of different Allison songs in a number entitled "Blue".
Personal life and death
Mose married his wife, Audre, in 1949.[16] They live on Long Island, where they raised four children, including a daughter, Amy, who is a musician.[17] Audre Allison has said that when she first met him, "I could tell that he was someone who generated his own joy."[18] She has also said that "Mose has always paid attention to what is happening in the world, and has always read voraciously both past and present histories".[6]
Allison died on November 15, 2016 at his home in Hilton Head, South Carolina from natural causes, ages 89.[19]
Political and cultural views
Allison is reported to have strong views about "the domination of money over everything, the growing lack of empathy on the part of the powers-that-be for the population, wars and more wars, and an underlying hypocrisy in society"[6] and the arrogance of colonisers of the Americas.
Early life
Allison was born outside Tippo, Mississippi, on his grandfather's farm, known as the Island, "because Tippo Bayou encircles it."[2] He took piano lessons from age five,[3] picked cotton, played piano in grammar school and trumpet in high school,[4] and wrote his first song at age thirteen.[5][6]
Allison went to college at the University of Mississippi for a while, then enlisted in the U.S. Army for two years.[7] Shortly after mustering out, he enrolled at Louisiana State University, from which he graduated in 1952 with a Bachelor of Arts in English with a minor in philosophy.[8]
Career
In 1956 Allison moved to New York City and launched his jazz career, performing with artists such as Stan Getz, Gerry Mulligan, Al Cohn, Zoot Sims, and Phil Woods.[4] His debut album, Back Country Suite, was issued by Prestige in 1957. He formed his own trio in 1958, with Addison Farmer on bass and Nick Stabulas on drums.
It was not until 1963 that his record label allowed him to release an album entirely of vocals. Entitled Mose Allison Sings, it was a compilation of songs from his previous Prestige albums that paid tribute to artists of the Mojo Triangle: Sonny Boy Williamson ("Eyesight to the Blind"), Jimmy Rogers ("That's All Right") and Willie Dixon ("The Seventh Son"). However, an original composition on the album brought him the most attention – "Parchman Farm". For more than two decades, "Parchman Farm" was his most requested song. He dropped it from his playlist in the 1980s because some critics felt it was politically incorrect. Allison explained in an interview, "I don't do the cotton sack songs much anymore. You go to the Mississippi Delta and there are no cotton sacks. It's all machines and chemicals."[9]
Prestige tried to market Allison as a pop star, but Columbia and later Atlantic tried to market him as a blues artist. Because he sang blues, Jet magazine thought that he was black and wanted to interview him.[10]
Allison was inducted into the Long Island Music Hall of Fame in 2006.
His album The Way of the World, released in March 2010, was his first after a 12-year absence from the recording studio.[11]
In 2012, Allison was honored with a marker on the Mississippi Blues Trail in his hometown of Tippo.[12] On January 14, 2013, Allison was honored as a Jazz Master by the National Endowment for the Arts, the nation's highest honor in jazz, at a ceremony at Lincoln Center in New York.[13]
Allison has written some 150 songs.[3] His performances have been described as "delivered in a casual conversational way with a melodic southern accented tone that has a pitch and range ideally suited to his idiosyncratic phrasing, laconic approach and ironic sense of humour".[14]
Influence
Allison's music has influenced many blues and rock artists, including Jimi Hendrix, the Rolling Stones, Tom Waits, the Yardbirds, John Mayall, J. J. Cale, the Who (who made "Young Man Blues" a staple of their live performances), and Georgie Fame (who described him, at a concert at the Rose Theatre in London on 24 May 2013, as "more important than Bob Dylan"). Blue Cheer recorded a version of his song "Parchman Farm" on their debut album, as did the band Cactus, featuring Carmine Appice and Tim Bogert, in the early 1970s. The Yardbirds and the Misunderstood both recorded versions of his song "I'm Not Talking".
His song "Look Here" was covered by the Clash on their album Sandinista! Leon Russell covered Allison's song "Smashed!" on his album Stop All That Jazz. Allison performed with Van Morrison, Georgie Fame, and Ben Sidran on the album Tell Me Something: The Songs of Mose Allison. Elvis Costello recorded "Everybody's Cryin' Mercy" on his album Kojak Variety and "Your Mind Is on Vacation" on King of America (bonus tracks). Dani Klein, of the Belgian music act Vaya Con Dios, recorded "Mind on Vacation" on the album Roots and Wings.
Frank Black of the Pixies has said that the song "Allison" from the album Bossanova is about Mose Allison.[15]
The film The Whole Nine Yards begins with Allison's song "I Don't Worry About a Thing" during the opening credits. Americana singer-songwriter Greg Brown wrote and performed the song "Mose Allison Played Here" on his 1997 album, Slant 6 Mind.
The Dutch musician Herman Brood recorded several of Allison's songs including "Going to the City", "Smashed!", "Back on the Corner", and "Swinging Machine". Brood called his band the Wild Romance after a line in Allison's "Lost Mind", and in his live performance used a pastiche of different Allison songs in a number entitled "Blue".
Personal life and death
Mose married his wife, Audre, in 1949.[16] They live on Long Island, where they raised four children, including a daughter, Amy, who is a musician.[17] Audre Allison has said that when she first met him, "I could tell that he was someone who generated his own joy."[18] She has also said that "Mose has always paid attention to what is happening in the world, and has always read voraciously both past and present histories".[6]
Allison died on November 15, 2016 at his home in Hilton Head, South Carolina from natural causes, ages 89.[19]
Political and cultural views
Allison is reported to have strong views about "the domination of money over everything, the growing lack of empathy on the part of the powers-that-be for the population, wars and more wars, and an underlying hypocrisy in society"[6] and the arrogance of colonisers of the Americas.
Mose Allison - Parchman Farm
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